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Glenn's Report for January 2013

4 February 2013

Report for The Month of January 2013


©GLENN LONEY 2013 



THIS-WAS-THE-MONTH-THAT-WAS…


December & January tend to be rather Slack-Months in terms of new Broadway & Off-Broadway-Productions.


It is, however, True that all the Fuss & Feathers that accompany Christmas, Chanukkah, Kwaanza, & other Religio-Ethnic Saturnalia-Salutes do impede the launchings of New-Attractions.


Also, the Holiday-Specials are never destined for Long-Runs: Who really wants to see A Christmas-Carol or Elf on Saint-Patrick’s-Day?


That being The-Case, escaping from Winterized-Manhattan to a Warmer-Clime seemed a Good-Idea for part of the Month of the Roman-God-Janus


South-of-the-Equator it is Summer!


In fact, deciding to visit Quito—in Ecuador—put Your Roving Arts-Reporter & Web-Editor Scott Bennett exactly On-the Equator, at Latitude-Zero: With One-Foot in the Northern-Hemisphere & the other in the Southern


If you make an Excursion to Spanish-Colonial-Quito—high in the Andes, at the foot of Pinchincha-Volcano—making a point of visiting the Equatorial-Monument, you will get a Certificate that you have been to the Exact-Middle-of-the-World!


But the Real-Reason for deserting the wind-swept streets of Gotham was my Life-Long-Desire to fly-off to Easter-Island & photograph those Giant-Heads—called Moais—that loom out of barren Volcanic-Lands or Stand-Guard on long Stone-Platforms, honoring Tribal-Ancestors.


A previous Winter-Escape was the Pilgrimage to Peru’s remote Inca-City, Machu-Pichu.


All that now remains for me to see in South-America—I saw many Fabled-Cities in The-Americas back in the 1960s, when AID was in its prime—are Brazil & Argentina, with perhaps side-trips to Uruguay & Paraguay


The Luck of the "Loney-Bennett-Party” was to have Excellent-Guides wherever we went.


Scott Bennett is a Good-Listener, whereas I’m always off-on-the-run to make more Photo-Images for INFOTOGRAPHY™, so I will leave it to Scott to provide Details, but we will post Our-Best-Photos on this site for all to see…


On Easter-Island, our Rapa-Nui-Guide, Manu, told us much about the History of his People & their Long-Standing-Traditions, not only of carving those Immense-Heads—with Lava-Stone-Hats to match—but also of these Primitive-People developing a Written-Language, centuries & centuries ago, recorded on Sacred-Boards.


We saw No-Theatre, but in Bolivia’s La Paz, one of the Patiño-Tin-Mine-Heirs had just appeared in a production of Jasmin Reza’s Art


Chile’s Capital of Santiago is soon to have the Tallest-Building in South-America. Whether they will find 

Tenants for the many floors of Offices remains to be seen.


Although we already been to Lima on our Machu-Pichu-Expedition, I wanted to return to explore the Vast-Expanses of the San-Francisco-Monastery-Church: They have almost more Bones-&-Skulls down in the Catacombs than in Rome.


One of Peru’s Richest-Men—also most conscious of the Great-Indian-&-Inca-Heritage—has created a marvelous Museum with more Ancient-Ceramic-Turtles, Ducks, Pigs, & other Assorted-Livestock than one would have thought possible.


All of these are in the form of Pots with Sipper-Handles, so that ages ago Cocoa-Leaf-Tea could be easily-enjoyed.


He has also amassed a Vast-Collection of Erotic-Ceramics made centuries ago by Native-Peoples.


Who would have guessed that, long before the Incas, Peruvians knew how to French-Kiss?


But that’s not all they knew: Cock-Sucking & Butt-Fucking! Shocking!


Fortunately, everywhere one goes, there are many, many Spanish-Colonial-Churches & Cathedrals, to keep one’s Thoughts on a Higher-Plane.


Quito has almost an Over-Supply, but what appears to be almost a Basilica—erected by the Society-of-Jesus—is completely covered inside with Gold-Leaf!


Were the Jesuits trying to dazzle God? Or just Blind their Naïve-Converts



PASSING-GLANCES AT SCENES-SEEN:


Peter Brook’s THE SUIT  [****]


Audience-Participation in an Apartheid-South-African Musical-Marital-Tragedy!

Just imagine!


Nonhlanhla Kheswa made her "Hometown-Debut” at BAM—the Brooklyn-Academy-of-Music—in a Peter Brook Production of a dramatization of a Black-South-African-Apartheid-Era-Novel, The Suit, first staged at Brook’s Paris-Theatre-Base, the Bouffes-du-Nord!


Kheswa has been a Fort-Greene-Resident for ten long years!


Although the Narrative-Fable deals with the Infidelity of a Wife to her Loving-Husband—who punishes her by making the Abandoned-Suit of her Escaped-Lover the Center of their Home & Later-Life—the show itself is colorful & musical, with Audience-Participation invited!


Those Brave-Souls who descended from their Secure-Seats in BAM’s Harvey-Theatre were even brought back for the Joyous-Curtain-Call!


Considering the Long, Long Artistic-Road that Peter Brook has traveled—perhaps the most Avant of all the Avant-Garde Theatre-Makers of the Post-1960’s Novel-Performance-Frenzies—it’s interesting that, in The Suit, he seems to have reverted to the 1960’s…


It is also interesting that Brook—now at Age-87—has at long last returned to the Harvey, which was, in fact, created for him by BAM’s Saviour, the Late Harvey Lichtenstein.


Harvey was so fascinated by Brook’s Royal-Shakespeare-Company production of Shakespeare’s A Midsummer Night’s Dream, that he brought it to BAM’s Opera-House.


Brook’s famed Marat/Sade staging had already dazzled Broadway-Audiences.


When Brook—who had been working on new productions in the former Tapestry-Factory of the Gobelins—finally found a decrepit, disused Revue-Theatre in a Ghetto-like Banlieu of Paris, the Bouffes-du-Nord—Harvey decided to convert Brooklyn’s decrepit, disused Majestic-Theatre into a Paris-like Brooklyn-home for Brook’s annual Bouffes Stagings.


Brook-in-Brooklyn, you might have imagined…


The Epic-Length Mahabharata-Hindu-Epic was the Inaugural-Brook-Bouffe, but Brook, in fact, somewhat resented Harvey’s Vision that he’d return annually to Brooklyn.


Brook had Other-Fish-To-Fry: he was always Moving-Onward


In fact, Brook’s La Tragedie du Carmen—originally scheduled for the New-Amsterdam Roof-Theatre, long unused, since World-War-II—was finally presented in Lincoln-Center, far off from Fulton-Street.


Brook’s Carmen-Revision was the occasion of my First Opera-News Cover-Story: Carmen’s Press-Agent even gave Peter & me a really Expensive-Luncheon, so he could prevent me from asking Embarrassing-Questions.


This was really unnecessary, for I had known Peter for some time, having interviewed him before & having followed his Career—already in the 1950’s, when I was teaching in Europe—on the London-Stage, where he dazzled with Drama & delighted with Musicals: Irma la Douce was a Winner!


When Peter became a Founder of the RSC—the Royal-Shakespeare-Company—I became a Dedicated-Follower, even editing the Official Royal Shakespeare Company Production-Book of Peter Brook’s Production of William Shakespeare’s A Midsummer Night’s Dream.


[Still available from the Dramatic Publishing Company, for whom I also prepared the Official-Production-Book for the Young-Vic’s Scapino, starring Jim Dale.]


When it became known that Brook’s Epic-Mahabharata would be coming to the Harvey, I was asked to conduct a CUNY-Graduate-Seminar—in our PhD-in-Theatre-Program—on both the Original-Hindu-Epic & Brook’s Interpretation of it.


In the event, I turned this into a Survey of Peter’s Entire-Career—including Screenings of the Films he had made—& culminating with a Session with Peter Brook himself, in which he proposed that I interview him, as I had done many times before, assuming that I’d know best what our Students & Guests would want to know about his Vision & Work.


So many turned-out for this Face-to-Face that we had to change two times to Larger-Auditoria at the Grad-Center.


The Peter-Brook-Seminar is effectively-captured in my book, Peter Brook: From Oxford to Orghast [Harmon/Routledge].


Orghast, by the way, is an Invented-Language, concocted by the Late-Poet, Ted Hughes, one-time husband of Sylvia Plath.


Subsidized by the Imperial-Sister of the Late Shah-of-Iran, Mohamad Reza Pahlevi, Brook mounted his Orghast-Production in Persian-Shiraz, at the site of the Mountainside-Tombs of Xerxes & Darius-the-Great.


Unfortunately, as a Performance-Language, Orghast wasn’t going anywhere.


Nor, after the Ascension of Radical-Muslim-Clerics, were many Theatre-Folk going off to Shiraz…



Martin Moran’s ALL THE RAGE  [*****]

One Man’s Answer to Anger-Management: Have a Laugh, If You Can Manage It!

Martin Moran is a charming, even elfin, Performance-Artist & Playwright.


But his Childhood was blighted by Sexual-Abuses from a Man who should have had his Best-Interests at heart…


Moran’s Tale of Anger & Rage suppressed & the Damage it can do is, in fact, riveting.


It should prove Popular on the Touring-Circuit, as there are a lot of Decent-People out there who are choking on Rage-Remembered.


But, not content to rely on the Remembrances-of-Things-Past & Moran’s Infectious-Sharing, Director Seth Barish & an array of Designers have outfitted this One-Man-Show with a variety of Visual-Aids.


We have, in effect, Chalk-Talks, Projections, Voice-Overs, Spamalot’s Cocoanut-Shell Horse-Hoof-beats, Red-Dot-Magnets on a Map-of-Manhattan, & even a huge Poster for a Violent-Movie, featuring Al Pacino


Very Clever & Ingenious, but not easy for Touring



DRAWING SURREALISM: The Art of Drawing as Manifest in the Creation of Surrealist-Ikons.…


How many Fledgling-Artists of the Surreal owed their Inspiration to Salvador Dalí?


The Image-Crowded-Exhibition now at the Morgan-Library-&-Museum suggests that more than a few were not exactly Original in their Deliberately-Warped-Visions.


Joan Miró is, of course, was a Law-Unto-Himself


Even more so, Réne Magritte!


But Magritte, Miró, & Dalí are best known for their Paintings & Sculptures.


Their Surrealist-Drawings or Sketches have previously been little-exposed to the Museum-Public.


Actually, Surrealism began as a Literary-Movement, in 1924, with André Breton’s First Manifesto of Surrealism.


What developed among Avant-Garde-Artists, however, was also inspired by Freud’s ideas about the Unconscious, as well as by Symbolism & Mysticism.


Among the aspects of Surrealist-Drawing on-view at the Morgan are Automatic-Drawing, Dream-Imagery, Frottage, Decalcomania, & Collage.


The Idea in Automatic-Drawing was to let your pen or pencil skitter across the paper without any Conscious-Thought or Manual-Direction. What emerged could later be used in a more Finished-Vision.


Frottage—which sounds vaguely like some kind of Sexual-Foreplay—involved rubbing Graphite on a paper imposed on a Textured-Surface. Max Ernst liked this, but it yielded designs of Limited-Visual-Interest.


Decalcomania yielded images rather like Rorschach-Blots


Collage saved Artists a lot of drawing, for they could cut-out Print-Images made by other Artists or even from Advertising & then glue them to paper or canvas to construct Wild-Fantasies or Hilarious-Parodies.


Even more fascinating were what were called Exquisite-Corpses.


Each Participating-Artist would draw something on his or her section of a Folded-Paper: when it was finally unfolded, a strange Visual-Composite would emerge…



ALBRECHT DÜRER VERY BIG AT CHRISTIE’S: World-Record for His Rhinoceros Woodcut!


Of the recent Auction at Christie’s of Woodcut-Prints by Albrecht Dürer, only 47-Lots were sold, out of a total of 62-Lots.


Nonetheless, the 47-Prints accounted for a total of $6-Million+, which isn’t bad for what are merely Prints-on-Paper from a Woodblock cut from an Original-Design by the Nuremberg-Master.


Now, if you could have bought one of the Original-Woodblocks—if any are ever available on the Open-Market—you could invest in some Handmade-Ink & Handmade-Paper & grind-out some Dürers of your own!


Dürer‘s Saint Eustache Woodcut was purchased for $662,500, with his famous image of Adam & Eve under the Auction-Gavel for $530,500.


Top-of-the-Sale was The Rhinoceros, complete with its Letterpress-Text from 1515!


Most of Dürer‘s most famed Paintings & even his remarkable Drawings are in Major-Museums. It would be an Astonishment if an Original-Dürer were to come onto the Auction-Market!


After World-War-II—when I was teaching in Europe—I was able to examine Dürer‘s wonderful Rabbit drawing in my own hands in Vienna’s Albertina.


Of course, I had Cotton-Gloves on my hands, as I went through an Acid-Free-Archival-Box of similar Treasures.


In Post-War West-Germany, when Bomb-Ruins were still standing & Food was scarce, it was possible to find some Renaissance-Woodcuts & Prints from the Original-Etched-Copper-Plates for very little cash.


I had both a PX-Card & US-Army-Commissary-Privileges: A Carton of Lucky-Strikes cost One-Dollar & I did not smoke…


I do have some Renaissance-Woodcuts, but none of them is by Albrecht Dürer, alas.



Americana-Week at Christie’s Totals $15-Million: Edward Hicks’ Wm. Penn Fetches $2.5-Million!


Unlike most American-Settlers in the New-World—who helped themselves to Native-American-Indian Tribal-Lands—that Honest-Quaker William Penn made a fair & binding Treaty with the Indians, so that Penn’s-Woods [or Pennsylvania] was not Stolen.


Edward Hicks—now perhaps the most famous of our Early-American-Folk-Artists—recorded this Treaty in a painting that was just bought at Christie’s for $2,546,500.


You may already know Hicks’ work from his Peaceable-Kingdom, a charming Primitive, in which the Lion lays down with the Lamb.


In fact, Hicks found this Image was so popular that he painted it more than once…


But Americana-Week at Christie’s was not just about Folk-Art: how about $230,500 for a 1782-Silver-

Teapot by Paul Revere?


It was, however, eclipsed by the nearly One-Million-Dollars bid for a Block-&-Shell Bureau-

Table by John Townsend of Newport. The Met-Museum recently devoted an Exhibition to his wonderful 

Cabinetry


Also on-offer was the Earliest-Porcelain made in Colonial-America!



RENAISSANCE: Old-Masters-Week at Christie’s, with the Walls Crowded with Masterpieces!


In the 19th-Century, Major-Museums used to crowd their walls, from Wainscot-to-Ceiling, with Ornately-Framed Old-Masters.


In our own time, however, Curators prefer to provide some Blank-Wall-Space around the Masterworks. So that Dürer doesn’t have to Visually-Compete with Da-Vinci or Rembrandt


At Christie’s, however, the 19th-Century returned for a brief-week as its own Gallery-Walls were almost floor-to-ceiling-hung with Authentic-Old-Masters!


Astounding! Paintings by Sandro Botticelli, Lucas Cranach the Younger, Fra Bartolemeo, & Bronzino up for Auction!


Almost all of the works on-view were Museum-Quality, which made Your Roving Arts-Reporter wonder if some Major-Museums were selling-off some Masterworks they had in Basement-Storage, in order to build New-Wings, dedicated to the Photographs of Cindy Sherman or the Polaroids of Andy Warhol?


This Auction is expected to realize more than $40-Million



CHRISTIE’S OLD-MASTERS-WEEK EARNS TOTAL OF $88.4-MILLION:

With Christie’s Old-Masters-Drawings Sale Winning $16.5-Million!


Despite the Old-Masters-Sales at Christie’s exceeding the Forecast by $48.4-Million, the admirable & excellently-informed Staffers are not expecting to see this reflected in their Paychecks. Oh, well…


On balance, it’s much more interesting to work surrounded by Works-of-Art & Dead-Rich-People’s Old-Furniture, Knick-Knacks, & Drapes, than to toil in Starbucks.


The celebrated French-Painter, Claude Lorrain—although long-dead—set a new World-Record for his works: $6.1-Million was bid for his Wooded Landscape.


In Lorrain‘s Own-Time, that money would have bought him lot of Wooded-Lots. Possibly even in Fontainbleu


A mere Pastel—not even a Proper-Painting—by Gainsborough fetched $2.4-Million: This was his Portrait of Caroline, 4th Duchess of Marlborough.


Let’s Hear-It for the Boroughs!


New Auction-Records were also set for works by Jean-Baptiste-Dominique Ingres, Giovanni Battista Tielolo, Adrien van de Velde, & Thomas Couture.


Paintings did well, but Three Drawings were sold for more than One-Million-Dollars, including Raphael’s Saint Benedict Receiving Maurus & Placidus.


One hopes that the Buyer knows who Maurus & Placidus really were…


One Painting did very well indeed: Madonna & Child, by Fra Bartolomeo, was sold for almost $13-Million!


But even Sandro Botticelli’s so-called Rockefeller Madonna brought $10.4-Million…


What was it F. Scott Fitzgerald said? Something on the order of: The Rich, they are not like us…


William Inge’s PICNIC  [****]


Little Sheba Isn’t Coming Back Anytime Soon, So Let’s Settle for Inge’s Second-Best…

Did you know that the Hunky Young Paul Newman was the Understudy for Ralph Meeker, the first of the Sexy-Drifters in William Inge’s Picnic?


But that was way back in 1953


I didn’t get to see Ralph Meeker—or Paul Newman—for I was in the US-Army at Ford-Ord back in 1953.


Nonetheless, we had all heard about Picnic, with especial attention to the way in which a Young Man from Nowhere, with his Shirt-Off, could excite the interest & the fantasies of both Love-lorn-Women of various ages & even some Men.


In the current & excellent Roundabout-Theatre-Revival—in the American-Airlines-Theatre: No Kosher-Meals for the Aisle-Seats!—Sebastian Stan is indeed Sexy & Provocative as a Tanned & Oiled Hal Carter.


He’s the kind of Arkansas-Traveler who—at that time—would finally be most apt to turn-up on 42nd-Street, San Francisco’s Polk-Street, or Hollywood-&-Vine as a Hustler.


But then—like Tennessee WilliamsWilliam Inge was a somewhat Closeted-Homosexual, who had to disguise his Passions.


In Picnic, however, he also shows himself to be an Acute-Observer of Small-Town-Life.


The Current-Revival—powerfully staged by Sam Gold—offers wonderful Acting-Opportunities for such Admired-Players as Ellen Burstyn, Reed Birney, Mare Winningham, & Elizabeth Marvel.


Maggie Grace is also admirable as Madge Owens—throwing away the chance to marry into her Small-Town’s Upper-Class, for a Fling with one of the Fugitive-Kind.


You just know this won’t turn-out well…


The Intricate-Detail of Andrew Lieberman’s Two-House-Setting is complemented by the Dress-Making-Details on the Women’s-Costumes, by David Zinn.


Indeed, some of them look as though they’d just been bought down at JC Penney’s.


At some moments—especially with the School-Teachers getting-together—some of the performances verge on Caricature.


Were Small-Town-Folks, way back in 1953, really like that?


I grew up in a Small-Town, from 1933 to 1943, & No-One was a Caricature.


But then, we did not have Television to show us how to Be & Act


Ettore Scola, Ruggero Maccari, & Gigliola Fantoni’s WORKING ON A SPECIAL DAY  [not-rated]


Adolf Hitler Has Come To Rome To Meet Benito Mussolini: But That’s Outside The Chalk-Window.

The Set-Furnishings—a Table & Two-Chairs—are stacked at the back of a Black-Room.


Ana Graham & Antonio Vega—who also co-directed—unstack them & begin to add to the Set-Details by drawing them in Chalk on the Black-Walls.


Through a Drawn-as-Open Chalk-Window, we can even hear Der-Führer ranting…


So, yes, it is a very Special-Day!


But Gabriel—who’s contemplating shooting himself in the Mouth, in a borrowed Studio-Apartment—has a Big-Problem.


Recently, he was a Broadcaster for the State-Radio, but he has been discharged because he is a Homosexual.


In Fascist-Italy, as in Aryan-Germany, there is No-Place-for-Homos!


Helping Antonietta —who seems to live below or above Gabriel: you hear them Treading-Stairs offstage—recapture her Flown-Away-Birdie, they establish a kind of Friendship.


If one of them needs to Ring-the-Doorbell, he or she only has to draw it in Chalk on the Door-frame.


To shut-out the Sounds of the Festive-Fascist-Parade, Antonietta erases the open Chalk-Window, closing it with more Chalk-Strokes.


There are some Striking-Moments of Real-Feeling in the progress of this Odd-Drama, but the Chalky-Aspects of the Production become an Over-Riding-&-Annoying-Gimmick that undermine whatever Vision the Original-Authors & the Adaptors may have wanted to communicate.



Aaron Posner’s Adaptation of Chaim Potok’s MY NAME IS ASHER LEV  [*****]


Hassids Do Not Paint Crucifixions: In Brooklyn, They Should Be Busy Studying Torah!

Not only is Aaron Posner’s dramatization of Chaim Potok’s novel riveting, but the performances of Mark Nelson, Jenny Bacon, & Ari Brand—as the Name-Boy, Asher Lev—are Outstanding.


Very early, when just a Tiny-Tot, Asher Lev realizes that he Has-To-Draw.


This is not pleasing to his Hassidic-Father, who travels often to spread the Teachings of their Brooklyn Rebbe.


The Rebbe is far wiser than the Father: he gives his Blessing to Young Asher to find his Path in Life.


That Path leads him far, far away from Brooklyn, to such Art-Worlds as Florence & Paris.


It also—with the Rebbe’s assistance—leads to Study with a great Modern-Jewish-Painter, who recognizes Asher’s Genius.


Not to overlook the eager-support of a Sexy-Stylish Lady-Gallerist, who promotes Asher to the Forefront of the New-York-Art-Scene.


But Asher’s two paintings of Crucifixion-ScenesHassids are not keen on images favored by the Goyyim-Christians—provoke a Scandal & deeply-wound his Puzzled-Parents


Gordon Edelstein has deftly-directed his Trio-of-Actors, but Mark Nelson proves especially remarkable in playing Asher’s Father, the Rebbe, Asher’s too-son-dead Uncle, & the Painter.


As Asher’s Mother, Rivkeh Lev, Jenny Bacon is wonderfully Sympathetic.


But just image a Hassidic-Woman & Wife studying Russian at Brooklyn-College!


[As a Retired Brooklyn-College-Professor, I can, in fact, well-remember such Dedicated-Students…]


Bacon is astonishingly different as the Flamboyant-Gallery-Owner, as well as a Nude-Model.


What’s most amazing—but also a bit wearing—is the Constant-Energy-Level of Ari Brand as Asher.


He seems Fury-Driven from the first & he Never Lets Down


When an Actor starts at the Top-of-His-Powers, he has nowhere higher to go.



FORTUNY Y MADRAZO: An Artistic Legacy…


For Decades, the Secret of the fabulous Fortuny-Pleats was closely-guarded.


How had Mariano Fortuny y Madrazo been able to press such remarkably Thin-Pleatings into Silk & Satin for his wonderful Dresses & Capes?


You may not find out this Secret over on Park-Avenue—at the Reyna-Sofia-Institute: 684 Park—but you will be able to visually-savor a wide variety of Fortuny-Fashions.


This fascinating show—on-view until 30 March 2013—was both conceived & curated by the also-fabulous 

Fashion-Designer, Oscar de la Renta.


Although Fortuny ultimately had his own Palazzo in Venice, he’s here at the Spanish-Institute because he was born in Granada of a long-line of Spanish-Artists, steeped in History & Tradition.


No Photography is permitted, so Your Roving Arts-Reporter is sorry not to be able to show you samples, not only of Fortuny’s Pleatings, but also of his wide-range of Textile & Fabric-Designs, as well as his Splendid-Outfits for Milady.


They were not Cheap. Nor were the Famous-Women who wore them…


As for Fortuny’s Venice-Palazzo, who knows what will become of it?


This year’s Annual Paul-Mellon-Lecture at the Morgan-Library is titled: Can Venice Be Saved?


Next year, we may well be asking: Can Manhattan’s Shore-Line Be Saved from Another Hurricane-Sandy?



Own a Piece of Tatzu Nishi? Discovering-Columbus Amethyst-Velvet-Couch & LED-TV For Sale!


Actually, Tatzu Nishi is the Japanese-Artist who had the Conceptual-Art-Idea to build a Scaffold around the Pillared-Statue of Chris Columbus on Columbus-Circle, enclosing Chris with a House so that New-Yorkers could get a really Up-Close-Look at this famous but weathered Representation of the Genovese-Jew who is said to have Discovered-America for Queen Isabella of Spain.


She was the Christian-Monarch who drove the Moors & the Jews out of Spain, so we don’t have any Statues of her on Pillars. Or even on Neo-Classical-Columns


Some 100,000 Visitors climbed the Scaffold-Stairs to stare at Chris at-home, with his 55” LED-TV-Screen & choice of Modern-Reading-Materials.


Not to overlook the Hundreds of Instagram™-Photos taken by Gawkers.


Now the Furnishings & Props—most of them from Bloomingdales, an East-Side-Department-Store of some note—are for Sale!


Proceeds will help pay for future Public-Art-Fund-Projects, many of which seem to be devised by Foreigners, rather than by New-York-State-Artists.


Go On-Line to make your Selection: <info@publicartfund.org>


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